Can you try and remaster the drive-by shot in A New Hope of the speeder going to the cantina (right after the “these are not the droids your looking for” scene in the theatrical cut, pre-SE) without the CGI creature?
Rey, Poe and Finn go on a time heist to collect the artifiacts and join them together to help bring back every character (alive or dead) to fight against Palpatine coming out from portals and-
wait wrong movie…
I like it, but I agree that there’s no visible debris, which would make it better. The fire seems to look like a miniature has been blown up.
Could you break down what elements (original and new) you used? I’m interested in this shot and would like to just see if it could be improved further.
Well the only thing original is the starfield. I added the glow and then the explosion after it. I might have to use Despecialized since the SE has that added glow I couldn’t remove.
I Ike it! I think it works better as an almost blinding light rather a very clear, properly exposed explosion. I did notice some flickering on the bottom a little.
The flickering is from an encoding issue, otherwise, the only thing left is the debris of what remains of Alderaan.
Speaking of praxis rings on explosions, I made a edit for my new A New Hope fanedit that has a new explosion for Alderaan that doesn’t look “too modern” or “stitched from two seperate explosions” like in the theatrical, and no praxis rings.
Here’s a look at the new Alderaan Destruction scene, without a praxis ring! I tried to keep it somewhat faithful to the SE version of the scene, since the theatrical had two seperate explosions that looked really jarring.
Sorry for necrobumping but it’s been 2 years and I still havent found these anywhere, even in the spleener. If anyone has the edits of this (ANH, ESB and ROTJ), please shoot a PM, cheers!
Yea, it’d be pretty weird having a “CGIless” PT, It’ll just be guys in a green screen.
Ok, so heres a small snippet of the new “enhanced” scene of the speeder traveling towards the cantina (directly after the mind-trick scene in the OUT), with a new SE-ish shadow underneath the speeder while retaining the bottom half of the speeder seen in the theatrical.
This scene is still W.I.P. (moreso a proof of concept), and there are tons of things that need fixing (trying to clean up and stabilize the 4k77 source, color-correction) and I am not particularly good in doing such thing (I’m a first-timer) so any VFX help with this scene is greatly appreciated!
UPDATE: This project isn’t dead, however things are going by very slowly as of the moment due to personal matters.
However, I have been slowly developing this and so far have created a very, very rough rough-cut of the final film, using Neverar’s Technicolor Recreation as a base.
I am also doing preliminary VFX work for the infamous “139 frames” scene of the speeder going to the cantina, I might post a snippet of that soon.
Extremely random thought, I wonder if the “A long time ago…” title card in the theatrical release of A New Hope actually looked the way it is, faded and old-looking.
Unfortunately I don’t have any secret sources or anything exciting like that. But hopefully I can dig up something you haven’t seen before!
I see you used a 35mm print of the 1997 SE for your source in your comparison.
‘STAR WARS CHANGES (Part 1 of 4) — A New Hope’:-
https://www.youtube.com/watch?v=Xn2eD-RI-dc - from the ‘Original Thrillogy’ youtube channel
I haven’t had a chance to watch all of it yet - though looks promising going on the first 4-5 minutes…
(Is it by one of us from here?)
Hmmm… That sure seems interesting.
I wonder if the 1997 SE shown in the comparison is 35mm, it sure has superior quality from any other publicly available version of the 1997 SEs, possibly a privately-owned 35mm scan?
Firstly, I wont be using the Alderaan explosion from Adywan’s due to its dated effects.
Same goes for the Darth Vader and Obi Wan sequence, the effects and CGIness of that scene sticks out like a sore thumb in comparison to the rest of the shots
(Name Tentative, please suggest below!)
(The “DSG” stands for Dat_SW_Guy)
This is essentially an envisioned “alternate Special Edition”, a more conservative, purist interpretation within the style of Adywan’s Revisited and @That Guy With No Name’s Devastator Edition in hopes of being a visually consistent and cohesive version of the film. This cut leans towards the theatrical version, whilst keeping some SE changes, or fixing dated shots, that will hopefully fit more in line with the aesthetic of the film, being non-intrusive both visually and narratively.
TLDR: It’s sort of a “What if the CGI and VFX in the 97 SE was more restrained to actually improving shots instead of adding unnecessary things?”
Overall, the goal is to create an immersive and seamless experience without being thrown off by a CGI Ronto walking into frame, while also enjoying the new changes that shaped some of the movie for the better.
The project’s main source is from @oohteedee’s D+77 2.4 project; however, certain SE changes are retained using his 2019 SE UHD Regrade throughout the edit. A full list of other sources are provided below:
Here are some other sources I used to create this edit:
The changelog has been revamped to update the sources; however, these are subject to change as I might add more in the future.
All spaceship shots now derive from the Special Edition, as the shots are more dynamic, yet the CGI still looks “appropriate” (somewhat like 90’s movies and their CGI, which is basically the SE).
Most of the theatrical matte paintings (Starry Sandcrawler sky, Falcon in the Death Star Hangar, Rebel Base Hangar, Award Ceremony audience, etc.) are replaced with their SE versions, save for a few mentioned which were redone.
Alderaan has a new explosion that matches what a 1997 version of the shot would look like; however, all other planet explosions in the film have been recolored to a modern yellowish hue or redone for visual consistency.
Careful yet extensive compositing and visual effects were used to remove and revise excess SE elements, such as extra buildings in the Mos Eisley sequences, the 138-speeder-shot, and outdated texturing of CGI and miniature elements (the entry shot into Mos Eisley, Ben’s Hut).
Other quality-of-life and continuity-oriented visual effects are added, mimicking the Revisited and Devastator changes, such as removing the bushes at the Homestead and removing the Jawa crew-member.
The main audio mix of the edit derives from D+77, which itself derives from @hairy_hen’s theatrical reconstruction mix (if I’m not mistaken); however, some aspects of the audio are lifted from the SE mix (such as the Dewback sound effects and 1997 edits), which are integrated into the main mix.
This is not a “locked” and final cut list, as this is subject to change to add more changes.
The opening titles are from the Special Edition, although the LFL logo is retimed to match the theatrical version.
The “a long time ago” text is from the theatrical version.
The crawl is the Special Edition.
The gaffer tape holding the trooper’s armor in the scene of Leia and Vader has been removed.
R2 now retracts his arm before they both enter into the escape pod.
The escape pod has been recolored blue to match the earlier shots.
The escape pod will now appear to go into the planet and burn into the atmosphere. (Inspired by ANH Revisited)
The canyon matte from R2-D2 is from the Special Edition.
The wide shot of R2 being loaded in the Sandcrawler is a modified version of the Special Edition to have extra planets.
The next shot of the Sandcrawler driving at night and the wipe to the “Look sir, Droids!” scene will retain their SE elements but has been edited to sync with the theatrical version. (From Hal9000’s Custom Special Edition)
The establishing wide shot of the homestead is from the Special Edition.
No bushes during the shot of Luke talking to Aunt Beru.
Added vaporators in the distance to match the SE establishing shot.
Fixed continuity error of R5-D4 showing up behind R2-D2 immediately after he explodes.
The Binary Sunset scene is from the Special Edition.
Artoo isn’t hiding behind CGI rocks.
Ben’s Hut SE matte painting has been updated to look less painterly and more realistic looking.
That matte painting shot of Mos Eisley and the establishing shot of the Speeder entering Mos Eisley is from the Special Edition, although the latter is sourced from the 2011 BD as the 2019 DNR’ed away the details. Also, I removed some womprats in that shot and improved the texture of the buildings.
The Mos Eisley sequences have now been re-cut in the style of Hal9000’s version for better pacing.
The CGI buildings in the SE Mos Eisley scenes have been greatly reduced using VFX to match the original on-set shoot in Tunisia, allowing for better continuity throughout the whole sequence.
The 138-frame landspeeder shot has been redone to remove the Ronto and the hand-drawn shadow underneath while retaining the SE level of quality.
The wide shot of the cantina has now been replaced with an updated matte, with the correct time of day.
The “I don’t like the look of this” shot removes the Dewback to the left of the frame, while keeping the Dewback next to the Cantina (thanks to TGWNN for this!).
Greedo has a new flash frame before he is shot that has accurate lighting consistent with Han’s flash frame.
The Jabba scenes are removed using an iris wipe transition instead of the fade used in the theatrical cut to maintain consistent quality within the shots.
The Millennium Falcon escape is from the Special Edition.
Alderaan has a new explosion shot that somewhat makes it better than the 1997 version but without the praxis ring, composited by yours truly.
All shots of the Millennium Falcon in the Death Star are from the Special Edition.
The censored scenes of the Imperial officers getting shot are reverted.
Vader walking through the hallway has been reverted to the theatrical version to remove the weird tracking and power-windows.
The prison block set corridor extension is from the Special Edition.
The Dianoga is reverted back to its theatrical version.
The Aurebesh text on the tractor beam is from the Special Edition.
All shots of the Millennium Falcon flying and heading to Yavin are from the Special Edition.
The one shot of 3PO in the Falcon hallway before it explodes during the TIE Battle is replaced with the 2011 BD as the 2019 UHD BD is heavily DNR’ed.
The Yavin Rebel Base exterior matte is from the Special Edition.
There is one shot of the X-Wings headed to the Death Star where Yavin is clearly within the line of fire to the Death Star; this has been removed, thanks to Adywan for the files!
Everything from the Battle of Yavin is from the Special Edition.
The Death Star explosion is from the Special Edition but has been modified to match the new Alderaan explosion.
The matte painting during the Award Ceremony is from the Special Edition.
The 1997 mix of the Mos Eisley soundtrack has been reinstated, yet shortened to match the cuts.
Reinstated the CGI Dewback sound effect outside the cantina, but added one sound effect that prompts Luke to look over to the cantina.
“Blast it Biggs” will now be “Blast it Wedge” (Lifted from Hal9000’s Custom Special Edition).
Luke will be heard saying “Biggs, Biggs!” in the radio (Lifted from Hal9000’s Custom Special Edition).
Smoothening out the jumpcuts and transitions, especially the lightsaber transitions.
Extra VFX shots, flipped shots for continuity and quality-of-life purposes (like spinning escape pod, fixing stormtrooper stance, etc.).
Better Tatooine matte paintings.
More dynamic Falcon scenes, such as the Falcon escape from Tatooine, and a better Falcon v. TIE fighter chase sequence, ala Revisited.
A more lively Battle of Yavin sequence with some shots of the red planet in the background.
Having all the blasters recomposited to be more lively.
Add lighting to the blaster fire to make it composite with the rest of the shot around it.
Making R2-D2’s lights flicker red and blue.
I still can’t consider it as bad… I find it more in line with the PT and ST.
Anyway, you guys are surely more expert than I am.What do you think about this?
http://www.framecompare.com/image-compare/screenshotcomparison/DLGZWNNX
Thats pretty good! Although I think its leaning more into saturated magenta, which is commonly what the Blu-Rays have. I suggest shifting the colors into a “balanced” version.
Frame comparisons.
TATOOINE
Sorry if I may seem blunt, but that color grading looks bad in all honesty.
Just over a week ago I heard about the coming release of HBO’s “From the Earth to the Moon” to Blu-ray in time for the 50th Anniversary and straight away I was excited for it.
When I got it home, I immediately played it and realized that something didnt look right. The original VFX shots that were created in SD have all been redone, and at first I thought it was an improvement, until I got to see that many, many things were wrong.
One of them I caught was the descent stage portion of the Lunar Module in Part 6 was completely reversed, and the 3d model of the Lunar Module used in the remake didnt even match up to the set version unlike the original VFX.
So I took matters into my own hands and try my hand to see if I was able to restore the original VFX of “From the Earth to the Moon” and possibly upscale them to match to Blu-Ray quality.
I think a good color reference would be NeverarGreat’s Technicolor version, which looks best in my opinion color-wise since it has that very vibrant look that the Blu-ray lacks.
However I suggest using 4k77 DNR or the “Skymaster” esition, as many others here mentioned.
Longtime lurker here, just hovering a suggestion over from the ANH:RHD thread,
is it possible to recomposite the speeder scene? (the scene which comes right after the Obi-Wan mind trick in the OUT) Like, removing the ronto blocking in the way while still preserving some elements. (such as the SE shadow at the bottom of the speeder, shuttle flying behind the vaporators)
Nope, thats not the scene, but the scene that comes right after in the OUT (which is this one):
A random thought, but is it possible to remove the blatant Ronto blocking the speeder, while keeping some of the newer elements (like the improved shadow under the speeder) in the panning wide shot right before they stop at the cantina?
Been lurking on this so this is my first reply in a while; thats amazing!
I’m super pumped to see this in action, however, I still feel like it looks really modern, I hope that it may match closer to the tight-camera angles of the original shots in the final cut.
Bohemian Rhapsody (2018)
Okay, after thinking about it after 2 months,
its a solid 8.5-9/10, it couldve reached a 9.5 if they added in the complete Live Aid sequence
https://www.youtube.com/watch?v=rLy-AwdCOmI
I dont know anymore
